Red Mosquito

Shania Twain derived the same riff from the same stuff... if it's that terrible, it was probably terribly uninspired to begin with.

harmless wrote:Shania Twain derived the same riff from the same stuff... if it's that terrible, it was probably terribly uninspired to begin with.

It's quite easy to make something shitty out of something good though.

(just ask Jack White)

Heathen wrote:

harmless wrote:Shania Twain derived the same riff from the same stuff... if it's that terrible, it was probably terribly uninspired to begin with.

It's quite easy to make something shitty out of something good though.

1) I don't find this shitty, though it's definitely the weakest of the songs we have, and 2) that's not the same argument you gave last time. You said this was something awful ripping off something awful (Shania Twain). I'm saying that whatever you think of them, both songs are playing very standard blues riffs, a riff I recognise from hundreds of songs and bands I've heard before that weren't Shania Twain. To criticise this song and its riff more effectively, you could avoid Shania Twain completely and talk about just how stayed and boring most blues-style music has become, even by much-loved bands of this forum. The Black Keys might be fun and whatever, but they're not innovative in any way whatsoever.

harmless wrote:

Heathen wrote:

harmless wrote:Shania Twain derived the same riff from the same stuff... if it's that terrible, it was probably terribly uninspired to begin with.

It's quite easy to make something shitty out of something good though.

1) I don't find this shitty, though it's definitely the weakest of the songs we have, and 2) that's not the same argument you gave last time. You said this was something awful ripping off something awful (Shania Twain). I'm saying that whatever you think of them, both songs are playing very standard blues riffs, a riff I recognise from hundreds of songs and bands I've heard before that weren't Shania Twain. To criticise this song and its riff more effectively, you could avoid Shania Twain completely and talk about just how stayed and boring most blues-style music has become, even by much-loved bands of this forum. The Black Keys might be fun and whatever, but they're not innovative in any way whatsoever.

Except that my criticism of this song is ONLY that I don't like how it sounds (regardless of whether it's derivative) and I don't care about music being original or derivative to begin with. Simply put: I dislike that Shania Twain song *because of how it sounds and not because it might or might not be derivative of something that might or might not be terrible* and I dislike LTRP for the same reason. That was my only point: there doesn't always have to be an extra-musical reason (such as 'this is derivative' or 'oh I can't accept this song as being Pearl Jam') for liking/disliking stuff.

Heathen wrote:

harmless wrote:

Heathen wrote:

harmless wrote:Shania Twain derived the same riff from the same stuff... if it's that terrible, it was probably terribly uninspired to begin with.

It's quite easy to make something shitty out of something good though.

1) I don't find this shitty, though it's definitely the weakest of the songs we have, and 2) that's not the same argument you gave last time. You said this was something awful ripping off something awful (Shania Twain). I'm saying that whatever you think of them, both songs are playing very standard blues riffs, a riff I recognise from hundreds of songs and bands I've heard before that weren't Shania Twain. To criticise this song and its riff more effectively, you could avoid Shania Twain completely and talk about just how stayed and boring most blues-style music has become, even by much-loved bands of this forum. The Black Keys might be fun and whatever, but they're not innovative in any way whatsoever.

Except that my criticism of this song is ONLY that I don't like how it sounds (regardless of whether it's derivative) and I don't care about music being original or derivative to begin with. Simply put: I dislike that Shania Twain song *because of how it sounds and not because it might or might not be derivative of something that might or might not be terrible* and I dislike LTRP for the same reason. That was my only point: there doesn't always have to be an extra-musical reason (such as 'this is derivative' or 'oh I can't accept this song as being Pearl Jam') for liking/disliking stuff.

Well no, except for the fact that you didn't say "I don't like this song." You said something which was open to argument, so I argued it. If all these posts are just variations of "I don't like this song", then I'll ignore them as not worth engaging with; I don't need to change your mind.

harmless wrote:

Heathen wrote:

harmless wrote:

Heathen wrote:

harmless wrote:Shania Twain derived the same riff from the same stuff... if it's that terrible, it was probably terribly uninspired to begin with.

It's quite easy to make something shitty out of something good though.

1) I don't find this shitty, though it's definitely the weakest of the songs we have, and 2) that's not the same argument you gave last time. You said this was something awful ripping off something awful (Shania Twain). I'm saying that whatever you think of them, both songs are playing very standard blues riffs, a riff I recognise from hundreds of songs and bands I've heard before that weren't Shania Twain. To criticise this song and its riff more effectively, you could avoid Shania Twain completely and talk about just how stayed and boring most blues-style music has become, even by much-loved bands of this forum. The Black Keys might be fun and whatever, but they're not innovative in any way whatsoever.

Except that my criticism of this song is ONLY that I don't like how it sounds (regardless of whether it's derivative) and I don't care about music being original or derivative to begin with. Simply put: I dislike that Shania Twain song *because of how it sounds and not because it might or might not be derivative of something that might or might not be terrible* and I dislike LTRP for the same reason. That was my only point: there doesn't always have to be an extra-musical reason (such as 'this is derivative' or 'oh I can't accept this song as being Pearl Jam') for liking/disliking stuff.

Well no, except for the fact that you didn't say "I don't like this song." You said something which was open to argument, so I argued it. If all these posts are just variations of "I don't like this song", then I'll ignore them as not worth engaging with; I don't need to change your mind.

My post was less about the song itself than it was about why is there a need to assume that LetMeSleep's opinion that the song is embarrassing comes from it being derivative instead of coming from the song on its own. But maybe I was wrong in thinking your post was a direct answer to that interrogation, which it seemed to be.

I was stabbing a guess as to why this song might be called "embarrassing" based on what has been said before, and then you pitched in to say that you didn't like it based on what I thought were the same reasons because you responded to me. If you'd said "I don't like it and my reasons have nothing to do with Shania Twain" then I'd have been like OK, as long as you acknowledge "this song sucks" is only your opinion if there's nothing to back it up other than a yuck reaction.

harmless wrote:I was stabbing a guess as to why this song might be called "embarrassing" based on what has been said before, and then you pitched in to say that you didn't like it based on what I thought were the same reasons because you responded to me. If you'd said "I don't like it and my reasons have nothing to do with Shania Twain" then I'd have been like OK, as long as you acknowledge "this song sucks" is only your opinion if there's nothing to back it up other than a yuck reaction.

Oh no I didn't post that to say that I didn't like the song. I was just presenting what I thought might be the most logical/simple reason to his dislike (the song itself rather than its derivativeness). But I find it hard to communicate with you lately (doesn't mean it's exclusively your fault) so I'm gonna stop before this devolves into another endless argument where everyone seems to be talking about a different topic.

who are the 13 of you who voted this song 5 stars?

stip wrote:the chorus is one of the parts of lightning bolt I find myself singing to myself the most

Agreed. I think the chorus is what saves this song from being even more generic. It's catchy as hell.

solace wrote:who are the 13 of you who voted this song 5 stars?

I am one of them. Switched it from one star to five after a few nights sleep and it popping in my head randomly during the day.

Biggest reason why: As already explained, it has boku potential live. you hear no end to this song on the album, it's a fade out, there is almost no way scientifically this song won't end live until after a few minutes of soloing, and it very well could only end when mike is ready to stop, not because he is tied to a specific set of measures, which on some nights could be a while. This thing could go on and on on a good night, which is probably when they'll want to break it out.

Newest reason why: Putting ed's tonality in this into perspective. I can't comment on the Shania Twain thing, because I don't listen to Shania Twain, because I am not a 14 year old girl from southern virginia. But, I initially found the tonality revolting. I was like "why get all 'go greased lightning go' in this song when it starts off with such a dirty down home blues riff? Then I was like - well wait - Led Zeppelin did - BBC sessions Whole Lotta Love Medley - it is OK to get "Boogie Chillun" when you're havin fun, we're obviously doing it PJ style here which is a bit less terrifically perfect than Zep, but there's nothing wrong with getting bluesy and boogieing your shit down and I am starting to see thing song more and more in that light and it's O-fucking-K and especially if accompanied by lengthy dripping McCready solos.

so let the records play

So it went from one extreme to the other based on what it might sound like when performed live?

Also, did you have your head under a rock in the late 90s? You've definitely heard enough Shania Twain songs enough times to be aware of them.

if there is a similar sounding riff in a shania twain song then there is a shania twain song somewhere with a pretty good riff.

96583UP wrote:boku potential

If anyone ever asks me what this song sounds like and I find myself--as I suspect I will--lost for adjectives to describe its boogie-laced glory, I will simply remember the time when said glory prompted a humble member of Team Red Mosquito to send the elegant majesty of the French language rocketing headlong into a phonetic brick wall that resembled a Pokemon character. And those words will convey the glory.

Kevin Davis wrote:

96583UP wrote:boku potential

If anyone ever asks me what this song sounds like and I find myself--as I suspect I will--lost for adjectives to describe its boogie-laced glory, I will simply remember the time when said glory prompted a humble member of Team Red Mosquito to send the elegant majesty of the French language rocketing headlong into a phonetic brick wall that resembled a Pokemon character. And those words will convey the glory.

You sure do have a way with words Mister Kevin Davis Sir.

Kevin Davis wrote:

96583UP wrote:boku potential

If anyone ever asks me what this song sounds like and I find myself--as I suspect I will--lost for adjectives to describe its boogie-laced glory, I will simply remember the time when said glory prompted a humble member of Team Red Mosquito to send the elegant majesty of the French language rocketing headlong into a phonetic brick wall that resembled a Pokemon character. And those words will convey the glory.

borrowed from a drink advertised by the honorable Richard Lewis: http://www.youtube.com/watch?v=1JEbnWl8iz0

I think it is unfair to malign this track based on this album form, because it clearly had its wings clipped by (probably) the producer... this song has a bbbbrrrruuuutal fade out.... we have not heard "the song" /"the whole song".... right where the lid of the party that is this song is blowing off, the producer hit the "call your parents, pick up your things, time to go home" button. Not fair to the track, not able to be that accurate/precise if attempting to judge this track in this album format. This album cut is just not reflective of the actual song.

It's like we've had this track revealed to us, but to view it, we have to stare through a keyhole. We're only familiar with the teeeny image on the other side. It would be much better if we were standing in the room with it, give it an all-over look-see, as we are able to do with the other album songs thus far.

Once we get in the same room as this thing (live), we'll see it for what it really is; not this through-the-key-hole 1-inch version.

stip wrote:if there is a similar sounding riff in a shania twain song then there is a shania twain song somewhere with a pretty good riff.

This is by far the most stip post of all time.

stip wrote:if there is a similar sounding riff in a shania twain song then there is a shania twain song somewhere with a pretty good riff.

And hundreds of "dirty" blues-style songs RMers actually like with the same riff. Muse uses these riffs all the time, for instance.